In Europe, the war was all-consuming, resulting in a plethora of propaganda postcards which solidified the divide between “us” and “them” on both sides. “Positive” proganda cards rallied both the Allies and Central Powers to fight “For King and Country.” On the other hand, “negative” propaganda cards were designed to ridicule and belittle enemies.

Central Powers postcards asserted the superiority of German people and technology and the inferiority of the Allies. In such comic cards, the Allies would be subjected to a demeaning type of punishment reserved for children or dogs. Even the German mythological figure Michel, who represents the laid-back and gentle side of the national character, was depicted as an aggressor. The Allies would often be portrayed as animals that did not deserve human respect.

Some of the most powerful anti-German propaganda postcard sets were produced by Italian postcard artist Tito Corbell, who made an important series of cards telling the story of nurse Edith Cavell, who was killed by German soldiers. Collectors, however, tend to favor Corbell’s more lighthearted work, like his images of glamorous women.

In England, the Bamforth publishing company, known for its mildly risqué “seaside” cards, produced many mocking and emasculating cards against the Germans. British historian G.M. Trevelyan attributes wartime propaganda as a major contributing factor to the harsh 1919 Treaty of Versailles. Insulted Germans became more fervently nationalistic, which led to the emergence of Adolf Hitler and his Nazi Party.

The most beautiful cards made during World War I are known as “silks.” French and Belgian refugee women would embroider designs on silk—usually incorporating British, French, and American flags—and ship them to factories to be trimmed and mounted onto postcard backs. These were tremendously popular with American and British soldiers stationed in France; it’s estimated that more than 10 million were produced before they died out in 1923.

Some of these postcards had flaps so that a tiny printed greeting card could be slipped between the silk and backboard. Generally they lack postage stamps because they were sent in Military Mail pouches at no charge to the soldier.

Silks were different from “linens,” a new kind of postcard that emerged post-World War I, made from an uncoated card stock that had a fabric-like texture and tended to feature garish colors. During World War II, as in the first world war, servicemen could send postcards home for free. Postcards became an important and easy means for soldiers to connect with their families, wives, and girlfriends back home, a quick way to let them know, “I’m still alive and thinking about you.”

Naturally, postcards were used for propaganda during World War II. Many of these propaganda postcards were relatively innocuous, sent within the U.S. and to and from soldiers, cheerleading the war effort. Evidence also suggests, though, that “black” propaganda postcards were used by the U.S. as a part of psychological warfare.

The Office of Strategic Services put out postcards that appeared to be German in origin, using real German postcard images and German wording that opposed Hitler and the Nazi Party, intended to suggest there was a strong anti-Fascist underground movement. Documentation indicates these cards were printed at a press taken over by the Morale Operation department of the OSS. As these cards were likely destroyed by the Nazis, they are extremely rare; only a few examples are known to exist today.

But for loved ones back home in America, the most popular kinds of cards to send to the boys overseas are what are known as “arcade postcards” or “girlie cards.” Based on the pin-ups of Gil Elvgren, Earl Moran, George Petty, Alberto Vargas, and others, these images of sexy ladies were meant to cheer up and provide a well-earned diversion to war-weary soldiers.

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